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Shadow  Entertainments 

AND  HOW  TO  WORK  THEM 


BEING 

Something  About  Shadow  Pantomimes 
and  the  Way  to  Make  Them 
Profitable  and  Funny 


SHADOWOGRAPHY 

PHANTASMAGORICALLY 

PRESENTED 


A.  PATTERSON 


PROFUSELY  ILLUSTRATED 


PUBLISHERS 

the:  henne:be:rry  co. 

CHICAGO 


Copyright  1901 

BY 

THE  HENNEBERRY  COMPANY. 


COHERE  is  no  form  of  entertainment 
fj  which  affords  more  real,  solid  enjoy- 
ment than  that  of  producing  illusive 
images  pantomimically  or  shadowographically. 
These  are  big  words  to  express  so  small  an  art, 
but  the  chimerical  effect  produced,  if  the 
designs  are  ludicrously  presented,  renders  a 
phantasmagorical  performance  irrepressibly 
funny.  Proportionately  as  the  exaggeration 
of  the  object  parodied  increases,  just  so  great 
becomes  the  hilarity  of  your  audience. 

Shadow  entertainments  have  proven  a 
popular  form  of  amusement  from  time  out  of 
memory.  Whether  at  a church  social,  a club 
entertainment,  or  a parlor  or  public  perform- 
ance, shadowgraphy  yet  holds  first  place 
among  the  harmless  amusements,  as  it  did  in 
the  days  of  our  forefathers. 


T 


Page. 

Chap.  I.  Shadow  Machinery...  ^ 7 

II.  Shadow  Figures 15 

III.  Shadow  Workings  ...  ....  27 

IV.  Shadow  Plays  ...  32 

V.  Shadow  Tableaux  57 

VI.  Shadow  Sundries  ...  61 

VII.  Public  Performances  .....  69 


CHAPTER  I. 

SHADOW  MACHINERY. 

On  Shadows . — Mirth-provoking . — The  Front . — 
Framework . — Stays, — Lamp . — Curtains . — Shutting  out 
light. — So/zW  fronts. 

There  is  something  uncanny  about  shadows — a 
something  not  easily  to  be  defined.  From  childhood 
these  insubstantial  things  have  made  impressions 
upon  us  ; and  as  a rule,  shades  and  shadows  caH  forth 
no  pleasantry.  In  the  phases  of  it  to  be  discussed, 
however,  shadow-land  shows  up  in  a new  light,  and 
becomes  a theatre  of  downright  fun  and  merriment. 
A shadow  entertainment  may  be  made  immensely 
droll  and  mirth-provoking.  Providing  those  who 
may  care  to  “ go  in  ” for  it  run  upon  the  lines  I shall 
indicate,  a most  amusing  and  inexpensive  species  of 
entertainment  may  be  got  up  for  the  children  for 
winter  evenings  ; and  not  only  so,  but  one  which  may 
be  made,  under  certain  conditions,  profitable  to  the 
individual  who  may  choose  to  make  it  so;  the  most 
essential  elements  to  success  being  a ready  tongue 
and  a humorous  turn  of  mind.  For  private  parties, 
school  entertainments,  bazaars,  Christmas  trees,  and 


8 


Shadow  entertainments. 


such  like,  nothing  could  be  better  adapted,  cause 
more  fun,  or,  when  once  seen,  win  greater  apprecia- 
tion, and  the  outlay  necessary  is  small  to  absurdity. 

The  Frontage.— The  “front”  for  the'  exhibition 
is  the  first  thing  to  be  considered.  In  providing 
this  much  depends  upon  the  tastes  of  the  exhibitor ; 
it  may  be  severely  plain,  or  very  prettily  designed 
and  decorated,  according  as  means  or  necessity 
may  demand,  or  a “natty”  eye  and  hand  may 
suggest  and  manufacture.  For  a home  exhibition 
a stout  piece  of  cord  stretched  across  the  corner  of 
a room,  with  curtains  hung  thereon,  and  a sheet 
to  form  the  shadow-screen,  will  be  quite  sufficient, 
so  long  as  the  end  sought  is  attained,  viz.,  opaque- 
ness everywhere  else  except  in  that  particular  portion 
of  the  frontage  whereon  the  shadows  shall  be  cast. 
In  a larger  apartment,  such  as  a school-room,  this 
arrangement  will  be  found  much  too  elementary 
and  inexpedient,  and  it  may  not  be  desirable  that 
nails  should  be  driven  into  the  walls;  therefore  a 
self-supporting  frame  must  be  made,  with  a screen- 
work  to  lit  it.  Strength,  lightness,  and  portability 
must  all  be  taken  into  consideration.  I will  give 
dimensions  and  materials  of  a liome-ma'ae  exhibition 
of  my  own — a little  affair  which  has  afforded  many  a 
hundred  youngsters  a good  round  hour's  amusement, 
and  furnished  fun  for  young  and  old  at  many  a festive 
gathering.  That  improvements  may  be  made  upon 
my  arrangement  is  taken  for  granted. 


SHADOW  MACHINERY. 


9 


The  framework  (Fig.  i)  is  as  follpws:  All  the  splines 
with  the  exception  pf  the  upright  9,  and  the  cross- 
pieces, 5,  6,  7,  8,  may  be  made  of  f in.  stuff,  2 in. 
wide.  The  cross-pieces  may  be  of  ^ in.  by  2 in.  in 
width,  but  9 must  be  2 in.  square.  To  begin  : make 
1,  ia,  2,  2A,  of  equal  length,  viz.,  8 ft.  The  dots  at 
each  corner  represent  nuts  a~nd  bolts  : these  may  be 
about  ij  in.  or  2 in.  The  splines  of  course  must  be 
planed,  which  will  deduct  a trifle  from  their  stoutness, 


10 


SHADOW  ENTERTAINMENTS. 


besides  saving  the  fingers  from  many  a splinter.  3 
and  4 are  the  same  in  size  as  the  others ; these  must 
fit  at  B B and  D D,  exactly  2 ft.  from  either  side. 
The  oblong  space  a,  formed  by  adding  (by  means  of 
nuts  and  bolts)  7 and  8 to  3 and  4,  will  be  exactly 

4 ft.  by  2 ft.  I might  say  that  7 must  be  1 ft.  from 
the  top,  and  8 must  be  2 ft.  below  that.  This  will 
give  you  exactly  5 ft.  from  8 to  ia.  Screw  your  nuts 
tight,  and  you  have  the  front  made.  To  avoid  wring- 
ing and  to  keep  the  frame  square  and  firm,  cross-stays 

5 and  6 must  be  fastened  on  to  3 and  4 ; a bolt  in  the 
centre  of  these  will  keep  them  always  together,  so 
that  no  mistaking  of  its  location  need  occur.  From 
near  the  top  of  3 and  4,  to  which  they  may  be  per- 
manently joined  by  hinges,  are  two  stays,  3A  and  4A; 
these  are  to  keep  the  front  upright.  At  c c are  small 

iron  angles  (Fig.  2),  or  angles  through 
holes -in  which  either  a screw-eye  or  a 
common  screw  may  be  turned  into  the 
floor  to  hold  the  concern  firmly.  Screw- 
eyes  cost  only  a halfpenny  each,  and  by 
means  of  a small  bradawl  hole  can  be 
turned  in  by  the  fingers.  Ordinary  screws 
are  clumsier  and  more  troublesome.  The 
back  upright  9,  8 ft.  in  length,  must  now  be  prepared  ; 
this  supports  your  lamp.  It  must  be  placed  only 
sufficiently  far  from  the  front  for  you  to  work  without 
kriocking  against  the  lamp.  At  the  bottom  of  the 
upright,  at  c c,  are  the  iron  angles  for  fastening  it  to 


SHADOW  MACHINERY. 


II 


the  floor.  In  the  top  of  it  drive  a stiff  iron  pin  (b), 
or  a very  large  headless  round  nail,  and  drive  in  two 
others  at  B b on  the  front,  io  and  io  are  simply 
dropped  upon  these.  The  pins  passing  through  holes 
in  io  and  io  complete  a firm  framework. 

The  lamp  should  have  at  least  an  inch  burner,  with 
tin  reflector  and  with  plain  glass.  The  reflector 
should  be  of  the  scalloped  order,  and  all  of  a piece 
with  the  back,  a movable  one  being  somewhat  of  a 
nuisance.  The  lamp  must  be  hung  on  a very  safe 


Fig.  3.— Front  for  Shadow  Screen. 


12 


SHADOW  ENTERTAINMENTS. 


hook,  for  a spill  might  give  rise  to  a serious 
mishap,  and  it  must  be  hung  about  18  in.  or  20  in. 
from  the  top,  so  that  it  faces  the  centre  of  the 
shadow-sheet  area.  The  shadow  of  your  head  will 
fall  just  below  the  spline  8,  so  that  it  will  not  spoil 
the  fun  by  showing  as  it  would  if  the  lamp  were  hung 
lower.  If  you  happen  to  be  taller  than  the  average 
size  of  folks,  tak'e  care  to  keep  as  far  aside  as  possible, 
as  the  shadow  of  your  head  bobbing  and  dodging  to 
and  fro  detracts  much  from  the  effect  of  the  play 
being  enacted.  * 

Now  for  the  curtains  (Fig.  3).  If  possible,  the 
front,  with  the  exception  of  the  shadow-screen  in  the 
centre,  should  be  decidedly  opaque  : otherwise  the 
shadowy  outline  of  the  performer  will  be  distinctly 
visible — a result,  needless  to  say,  very  undesirable, 
and  one  that  mars  the  whole  concern.  The  curtain 
or  curtains  may  be  made  of  green  baize,  damask  or 
cretonne.  The  last  is  by  far  the  cheapest,  prettiest 
and  best.  A pattern  with  bright  but  not  too  glaring 
colours  should  be  chosen,  and  if  possible  with  a 
perpendicular  striped  pattern  interspersed  with 
flowers/  It  costs  but  a few  pence  per  yard.  My 
own  curtains,  which  are  reversible,  have  one  side 
with  a broad  blue  striped  groundwork,  alternating 
with  narrow  red  stripes  picked  out  with  the  neatest 
yellow  flower  work  imaginable.  On  the  other  side 
re^l  predominates.  1 prefer  the  bluest.  It  will  not 
tike  long  to  reckon  up  how  many  yards  of  cretonne 


shadow  machinery. 


*3 

are  necessary  as  soon  as  you  know  what  width  the 
material  runs..  Along  the  top  a pretty  fringe,  with 
tassels  here  and  there  may  be  fastened,  either\straight 
or  festooned  : a shorter  length  will  be  necessary  to 
attach  to  the  cretonne  immediately  beneath  the 
shadow-sheet,  or  “ stage  front  ” if  you  like  to  call  it 
such.  It  was  unfortunate  in  my  own  case  that  the 
pattern  which  suited  me  was  somewhat  transparent, 
to  obviate  which  I had  to  hang  up  a huge  canvas 
wrapper  to  “ dullify  ” it.  A few  tacks  will  hold  the 
curtain  on  the  framework.  Before  fixing  it,  however, 
the  shadow-screen  must  be  tacked  on  tightly  and 
without  rucks.  This  sheet,  which  should  be  of  the 
best  linen,  may  be  put  on  with  tapes,  or  loops  if 
preferable,  so  long  as  it  is  tight  and  there  is  no  fear 
of  rending  it.  Carefully  hang  the  curtain  on,. and  if 
necessary  darken  it  behind,  for  which  purpose  even 
large  sheets  of  brown  paper  will  do.  Add  any  orna- 
mental device,  such  as  Prince  of  Wales’s  Feathers,  a 
shield,  an  eagle,  or  anything  else  you  may  choose  as 
a finishing  touch.  These  may  be  made  of  tin  covered 
with  coloured  papers,  or  plain  paper  painted,  gilded, 
and  perhaps  both. 

It  only  remains  to  shut  in  all  the  light  possible 
above  and  around  you.  This  may  easily  be  done  by 
enclosing  yourself  in  a triangular  curtain  made  by 
attaching,  by  means  of  tacks,  the  material  on  the 
one  side  to  4 (Fig.  1),  and  on  the  other  to  3,  passing 
round  9.  A tin  immediately  over  the  lamp  will  shut 


u 


SHADOW  ENTERTAINMENTS. 


in  the  light  downwards.  This  can  be  hung  upon  a 
wire  held  in  place  by  two  screw-eyes  at  w.  It  is 
almost  needless  to  say,  keep  a clear  trim  lamp.  Now 
you  are  ready  to  commence  the  programme. 

Such  a fitting  together  of  separate  pieces  and 
screws  may  be  rather  objectionable  to  some,  although, 
when  once  used  to  putting  the  framework  together, 
it  can  be  constructed  in  less  than  ten  minutes.  The 
front  may  be  very  easily  made  a solid  as  well  as  a 
folding  affair  by  nailing  all  the  corners  and  cross- 
pieces together,  instead  of  fastening  them  with  nuts 
and  bolts  : in  such  case  two  additional  splines  should 
be  added  to  the  centre  and  hinges  screwed  thereon, 
one,  say,  immediately  below  the  old  boatman  (see 
Fig.  3),  and  another  nearer  the  bottom.  2,  7,  8,  and 
ia  must,  of  course,  be  cut  through  at  their  centres, 
and  the  stays  5 and  6 (see  Fig.  1)  dispensed  with. 
For  permanent  fronts,  a variety  of  manufactures 
might  be  suggested.  None  of  these  folding  fronts 
will  equal  the  spline  framework,  as  described.,  either  in 
convenience  or  lightness,  both  very  necessary  qualifi- 
catidns  when  removal  is  of  frequent  occurrence. 


Cow-ardly 


CHAPTER  II. 
SHADOW  FIGURES. 


Shadow  figures. — Height  of. — Necessary  tools. — How 
to  start  manufacture.  — Limb-making.  — Splitting  the 
rivet. — Lever  wires. — Loop  Guides. — Names  of  Figures. 
— Complicated  figures.  — Pickman.  — Elephant.-— Other 
animals.  — Set  pieces. — Windmill.  — House.  — Wheeled 
figures. 

Shadow  figures  may  be  made  of  any  thin  but  suffi- 
ciently stiff  material.  For  a fixed  figure,  with  no 
mechanical  effects,  cardboard  will  do  admirably ; it 
is  easy  to  cut  into  shape,  inexpensive,  and  very  light 
besides.  A friend  of  mine  made  a handy  little  set 
of  figures  out  of  thin  zinc,  that  being  exceedingly 
easy  material  to  work  up.  My  own  are  of  fairly 
stout  tin  ; and  for  mechanical  figures  that  are  much 
in  use  nothing  can  be  more  durable.  The  tin  must 
be  sufficiently  “stiff”  to  carry  the  levers  and  rivets 
necessary  to  make  the  figures  work. 

The  height  of  the  figures  is  a matter  for  some 
consideration  : if  too  big  they  are  cumbersome,  while 
if  too  small  they  are  simply  useless.  6 in.  figures 
will  suit  a private  family  party,  but  12  in.  men  will 


SHADOW  ENTERTAINMENTS. 


ib 


be  found  none  too  large  for  more  public  performances. 
Most  tinmen  would  hesitate  to  manufacture  a T2  in. 
figure  for  less  than  is.  The  total  cost  of  a home- 
made article  will  be  about  lid.,  perhaps  less,  especi- 
ally if  the  amateur  tinman  is  content  to  purchase 
waste  pieces  of  tin  from  the  brazier,  who  is  glad  to 
part  with  them  at  a nominal  figure.  Fourpence  is 
the  price  of  an  ordinary  tin  plate  or  sheet. 

The  tools  necessary  for  the  business  are  few  and 
simple  (Fig.  4) : (1)  a pair  of  shears,  which  may  be 


had  for  half  a crown,  (2)  an  iron  punch  with,  a 
sharpened  point  to  it,  a file,  (3)  a small  steel  chisel, 
(4)  a pair  of  round-nosed  pliers,  a pair  of  ordinary 
pliers,  a common  bolt-nut  and  a flat-iron  to  use  as 
an  anvil. 

If  you  have  a more  elaborate  supply  of  tools  and 
apparatus  to  make  use  of,  all  the  better. 

Let  us  now  proceed  to  manufacture  one  of  our 


SHADOW  FIGURES. 


17 


figures,  which  we  must  endeavour  to  make  as  comical 
in  features  and  as  striking  and  characteristic  in  out- 
line as  possible.  Care  must  be  taken  to  show  up 
distinctly  sundry  effects,  c.g.,  shirt-collar,  coat-tails, 
shoes,  buttons,  etc.  Your  figure  should  be  so 
realistic  that  its  identity  need  not  be  disclosed  other 
than  by  its  resemblances.  Our  first,  Mr.  Mole,  the 
traveller  (Fig.  5),  is  not  a very  complicated  personage 
to  start  with.  It  will  not  be  found  easy  to  trace  an 
outline  upon  the  tin,  therefore  carefully  draw  the 
figure  upon  a piece  of  thin  white  paper,  leaving  it 
armless.  Now,  being  thoroughly  satisfied  with  the 
outline,  cut  out  Mole  with  a pair  of  scissors,  and 
paste  him  upon  the  piece  of  tin ; 
then  proceed  to  cut  him  out  as 
carefully  as  you  sketched  him, 
starting  from  either  his  hat  or 
his  heels,  and  taking  care  not  to 
let  your  shears  clip  off  any  of 
the  effective  points.  If  you  do 
accidentally  remove  them,  a 
little  solder  and  a fresh  “ point  ” 
will  set  matters  right.  Where 
you  cannot  nicely  get  the  shears 
to  work — say,  between  two  legs, 
or  under  an  arm — lay  the  tin 
upon  a block  of  oak  or  a bit  of 
lead,  and  cut  it  out  with  the 
steel  chisel.  By  wetting  the 


JL 


iS 


SHADOW  ENTERTAINMENTS. 


paper  you  may  speedily 
remove  it  from  the 
figure.  Lay  your  old 
friend  on  the  flat-iron, 
placing  the  nut  between 
him  and  it  just  under 
where  you  want  to 
punch  his  eyes  and  but- 
tons. Knock  in  your 
sharp  - pointed  punch 
^4r-  L boldly,  and  make  a good 

sized  hole.  Having  tapped  off  the  punched-out 
pieces  which  may  be  still  ad- 
hering, lay  the  figure  upon  the 
anvil  and  hammer  it  flat  and 
level.  A little  manipulating 
with  the  pointed  end  of  a <file 
will  put  the  holes  in  trim. 

For  the  arm  holding  an 
umbrella,  another  and  pro- 
portionate sketch  must  be  made 
(Fig.  6).  At  the  spot  indicated 
by  circles  carefully  punch  two 
holes  of  moderate  size.  Having 
provided  yourself  with  two- 
pennyworth  of  4 in.  iron  rivets, 
fix  the  arm  upon  the  figure  thus 
(Fig.  7)  : at  a,  after  having 
punched  a hole  in  the  figure  cof 


SHADOVV  FIGURES. 


*9 


responding  with  that. in  the  arm,  insert  a rivet,  and 
clinch  it,  but  take  care  not  to  fix  it  so  tightly  that  the 
limb  will  not  work.  If  you  carefully  place  the  sharp 
edge  of  the  chisel  on  the  centre  of  the  rivet’s  smaller 
end  (as  it  stands  on  its  head  upon  the  fiat-iron,  through 
the  double  thickness  of  tin),  and  give  it  a gentle  tap,  it 
will  split  slightly  ; a tap  or  two  more  with  the  hammer 
will  spread  this  end  of  the  rivet  so  as  to  effectually 
prevent  all  possibility  of  its  coming  out  again. 
Before  proceeding,  however,  to  make  the  limb  a fix- 
ture, you  must,  at  B,  pass' in  another  rivet, 
through  the  arm  only , and  having  made  a 
loop  in  your  lever-wire  (Fig.  8),  clinch  the 
rivet  just  sufficiently  to  prevent  the  loop 
from  slipping  off  it.  The  wider  you  spread 
the  “ clinched  ” end  of  the  rivet  the  safer, 
so  long  as  it  continues  to  work  easily. 

Your  lever-wire  should  be  of  No.  9 size.  A friend  of 
mine  has  actually  made  use  of  umbrella  wires  for 
this  purpose,  using  as  rivets  small  flat-headed  brass 
nails  cut  down  to  a requisite  length,  and 
then  securely  clinched.  At  c,  rivet  or 
solder  on  a stiffish  bit  of  iron  for  a handle : 
such  iron  strips  as  are  discarded  by 
corkcutters  after  undoing  their  bales  will 
answer  admirably.  Take  care  to  make 
this  handle  long  enough  to  be  grasped 
firmly  by  the  hand;  let  it.  run  halfway 
up  the  figure  if  necessary  to  make  it  Fig.  9. 


*g3 


20 


SHADOW  ENTERTAINMENTS. 


stiff.  . e e are  rivets  joining  figure  and  iron.  At 
d,  stab  two  small  holes  with  a bradawl,  arid 
fraving  made  a tiny  loop  of  a bit  of 'thin  wire, 
insert  the  two  ends  and  turn  them  at  the  back. 
This  loop  (Fig.  9)  will  not  only  keep  the  wire  in 
position  and  in  safety,  but  will  prevent  its  being  seen 
wher  the  figure  is  worked. 

Having  completed  the  figure,  you  may  give  him  a 
variety  of  names  as  may  best  suit  your  purpose. 
He  will  answer  admirably  fora  parson,  a commercial 


traveller,  a retired  baker,  or  an  old  bachelor.  This 
figure  may  be  duplicated  by  several  others  providing 


SHADOW  FIGURES. 


21 


yoti  make  them  with  slightly  different  noses  and 
hats. 

The  following  figures  are  sofnewhat  rfinre  com- 
plicated. A sailor  (Fig.  io)  has  one  leg  and  one 
arm  to  work.  Accordingly  the  body  must  be 
manufactured  minus  one  leg  and  one  arm  ; the  other 
added  limbs  will  be  “ shipped  on,”  as  in  the  last 
figure,  and  a couple  of  levers  affixed,  each  one  work- 
ing quite  distinctly  from  the  other. 

In  the  case  of  the  pickman,  who  is  a very  compli- 
cated fellow,  the  body  must  be  made  in  two  pieces, 
hinging  on  a rivet  at  the  centre  (Fig.  n). 


Fig.  12  represents  an  elephant,  from  the  “ machin- 
ery ” of  which  that  of  any  other  creature  may  be 
easily  invented. 

Figs.  13  and  14  are  a lion  and  a bear,  the  one 
having  its  tail  and  jaw  movable,  the  other  being 
capable  of  rearing  on  its  hind  legs. 


SHADOW  FIGURES. 


23 


The  figures  which  the  mind  can  conjure  up 


as  eligible  for  making 
are  innumerable  : every 
droll  phase  of  humanity 
may  be  caricatured — 
men  on  bicycles,  old 
ladies  running  away 
from  cows,  pigs  upset- 
ting policemen,  donkeys 
kicking,  etc.  Every 
trade,  profession,  and 
calling  can  be  laid  under 
contribution  to  produce 
humorous  figures,  situa- 
tions and  dialogues. 
Gutter  merchants, 
tramps,  and  those  who 
have  no  special  calling, 
must  not  be  forgotten. 


fun  for  the  shadow-show 


24 


SHADOW  ENTERTAINMENTS. 


Set  pieces* — It  will  be  found  necessary  in  “ set 
pieces”  to  have  certain  effects  introduced,  such  as 
houses,  bridges,  etc.  These  may 'be  made  of  one 
large  piece,  or  of  a number  of  odd  pieces  rivetted  or 
soldered  together.  If  desirable,  various  ingenious 
devices  may  be  introduced,  such  as  lamps,  palings,  and 
the  like.  In  a sketch  which  I shall  presently  intro- 
duce, a broken  bridge  forms  a very  important  feature. 
Having  sketched  out  a proportionate  half  of  the 
bridge,  proceed  to  cut  it  out  (Fig.  15).  By  laying 


Fig.  17. 


SHADOW  FIGURES. 


25 


this  upon  the  tin  out  of  which  the  other  half  is  to  be 
cut,  that  half  will  be  very  easily  marked  out.  At  1 
and  2 two  small  holes  are  punched  for  the  insertion 
of  a couple  of  tin-tacks,  which  will  be  found  suffi- 
ciently strong  to  hold  the  half-bridge  in  position 
behind  the  screen.  A very  simple  form  of  house  is 
shown  in  Fig.  16. 

A windmill  may  be  introduced  (Fig.  17),  the  sails 
of  which  are  made  to  revolve  by  means  of  a lever 
arrangement  ; and  a hundred  other  effects  will  pre- 
sent themselves  as  the  need  or  the  humours  of  the 
operator  may  dictate. 


Fig.  18. 


26 


SHADOW  ENTERTAINMENTS. 


With  wheeled  figures  the  fun  m^y  be  much  aug- 
mented. One  sketch  and  description  of  a wheel- 
barrow (Fig.  18)  may  suffice  to  give  ideas  for  a variety 
of  other  vehicles,  e.g.,  barrow-carts,  carriages,  oyster 
barrows,  perambulators,  and  the  like. 

The  man  must  be  made  in  two  pieces,  a loosely 
working  rivet  at  A allowing  the  body  plenty  of  play. 
Rivets  at  B and  c give  the  barrow  and  its  wheel 
play  also.  If  the  leg  of  the  barrow  be  cut  twice  its 
necessary  length,  and  then  turned  at  a right  angle, 
as  at  D,  it  may  be  made  to  stand  alone.  By  means 
of  the  lever  wire  the  man  may  be  made  to  fall  on  his 
knees,  sit  under  the  barrow,  and  cut  other  amusing 
capers.  Wheels  from  German  toys  come  in  cheaply 
and  save  the  labour  of  cutting  them  . out ; few 
amateurs,  indeed,  could  turn  out  anything  so  neatly 
finished. 


Cornered  ! 


CHAPTER  III. 
SHADOW  WORKING. 


On  keeping  sets  distinct. — Where  to  put  them  when 
working.  — Flukes  when  working.  — Breakdowns.  — 
Patter. — Intervals. — Music. — Horseplay  to  be  prevented. 

Having  completed  your  preparations  for  “showing,” 
inasmuch  as  your  screen  is  in  position  and  your 
audience  are  filing  into  their  places,  one  of  the  per- 
formers— for  there  must  necessarily  be  two — should 
harangue  the  hearers  whilst  the  other  is  arranging  his 
figures  and  laying  out  the  “ properties.”  It  is  of  the 
utmost  importance  that  each  separate  play  should 
have  its  own  figures  exclusively  to  itself:  your  figures' 
also  must  be  divided  off  into  sections,  each  complete 
series  being  pjaced  by  itself  in  its  own  receptacle,  so 
that  there  may  be  no  mixing  when  put  away,  nor 
any  bungling  and  confusion  when  required  for  use. 
If  you  do  not  feel  disposed  to  go  to  the  expense  of  a 
box  with  trays,  such  as  carpenters  make  use  of  for 
the  proper  arranging  of  their  tools,  at  any  rate  take 
care  to  keep  your  sets  distinct.  First  place  in  the 
'box  the  set  of  figures  you  will  want  to  make  use  of 


28  SHADOW  ENTERTAINMENTS. 


Fig.  19. 

turned  into  hooks  by  your  pliers.  Fig.  19  shows  the 
performers  at  work.  Take  care  that  in  showing  your 
figures  their  feet  are  just  above  the  crosspiece,  not 


last,  then  lay  a newspaper  above  them,  then  put  in 
your  next  set,  then  another  newspaper,  and  so  on. 

So  that  they  may  be  “ handy  ” when  wanted,  all 
the  figures  should,  just  previous  to  the  performance, 
be  placed  upon  a small  shelf  in  front  of  you,  just 
below  your  “ stage,”  or,  what  is  better,  hung  upon  a 
long  cord  stretched  across  from  side  to  side  of  the 
front  by  means  of  the  lever  wires,  which  may  be 


SHADOW  WORKING. 


2Q 


too  high,  and  certainly  not  below  it,  otherwise  you 
will  make  the  legs  on  the  one  hand  ridiculously 
short,  or  on  the  other  absurd  by  their  walking  above 
the  level  of  the  supposed  ground.  Avoid  showing 
the  fingers,  and  especially  the  wire  levers  which  work 
the  limbs.  Flukes  of  this  sort  are  immensely  divert* 
ing  to  youngsters,  who  fancy  they  have  made  a great 
discovery,  and  are  nothing  loth  to  shout  “ I can  see 
the  wires!”  or  ‘‘Look!  there’s  his  hand!”  You 
want  to  puzzle  your  admirers  as  much  as  possible  as 
to  the  manner  in  which  the  figures  are  manipulated  ; 
if  you  can  manage  to  do  this  the  interest  and  wonder 
will  be  all  the  greater. 

Your  figures  must  be  kept  as  near  to  the  screen  as 
possible , they  appear  the  larger  when  removed  a 
trifle  away  from  it,  but  much  less  distinct  and  black. 
If  you  have  a sufficiently  strong  light,  fun  may  be 
made  at  times  by  bringing  the  figures  nearer  to  it  : 
but  it  is  not  advisable.  Never  turn  a figure  round  in 
sight  of  your  audience,  but  let  it  walk  off  the  stage, 
and  then  be  turned  ; dispense  some  ready  “patter  ” 
to  make  this  going  off  seem  necessary ; make  it 
appear  your  actor  has  gone  to  look  for  someone,  or 
to  see  what  sort  of  a street  he  will  find  round  the 
corner,  and  so  on.  This  readiness  of  speech  must  be 
scrupulously  studied,  for  there  are  often  occasions 
for  putting  in  something  quite  unexpectedly,  and 
such  as  you  never  intended  to  say  ; for  instance,  if  a 
limb  should  become  detached,  let  your  unfortunate 


SHADOW  ENTERTAINMENTS. 


30 

figure  inform  the  audience  that  he  has  met  with  a 
most  serious  accident,  and  must  go  to  the  hospital  to 
get  right-sided.  If  a limb  sticks  fast,  do  not  suddenly 
withdraw  the  figure,  for  the  spectators  have  small 
sympathy  with  accidents  ; rather  let  them  be  made 
to  appreciate  the  failure  by  putting  in  some  humor- 
ous remarks  with  regard  to  sudden  convulsions 
making  a doctor’s  assistance  necessary.  Let  your 
figure  bemoan  his  misery  and  misfortune,  and  put 
extra  work  upon  any  other  movable  limb  he  may 
possess. 

As  ea'ch  figure  has  done  its  part,  let  it  be  hung 
upon  the  string  until  wanted  again,  or  be  placed 
again  in  the  box.  You  must  never  flag  either  in 
your  patter  or  in  the  manipulation  of  your  figures. 
This  need  not  be  feared  if  both  performers  are  nimble 
of  finger  and  ready  of  wit.  After  all,  it  is  not  so 
much  the  simple  moving  of  hands,  feet,  tails,  and 
such-like,  that  makes  the  fun:  these  perhaps  provoke 
it,  but  it  is  the  running  fire  of  crisp  conversation  and 
chatter  that,  in  connection  with  these  movements, 
draws  forth  the  roars  of  hilarious  laughter,  for  people 
— and  especially  children — by  some  queer  working  of 
the  mind,  place  the  voices  of  the  manipulators  in  the 
persons  of  the  comical  little  black  performers,  just 
as  they  do  in  the  case  of  “ Punch  and  Judy.” 

To  prevent  breakdowns  the  patter  should  be  well 
studied  beforehand,  and  as  much  of  the  dialogue 
committed  to  memory  as  possible.  Armed  with  this, 


SHADOW  WORKING. 


31 


it  becomes  a very  easy  matter  to  throw  in  extempore 
fun  and  witticisms,  as  occasion  or  necessity  offers  or 
demands.  Rather  than  feel  insecure  upon  the  matter, 
it  would  be  advisable  to  have  the  dialogues  written 
out  on  slips  of  paper  and  pinned  up  by  your  side  for 
reference. 

Between  each  act  the  interval  must  be  filled  in  so 
that  the  interest  shall  not  flag  : if  one  performer  is  a 
musician  so  much  the  better,  and  a humorous 
rendering  upon  a concertina,  a whistle,  or  a zither, 
of  a well  known  ditty,  forms  an  agreeable  break  in 
the  programme.  Failing  these,  a smart  little  organ- 
ette  may  discourse  familiar  airs,  a boy  out  of  the 
audience  being  deputed  to  the  important  function  of 
organ  grinder. 

Should,  however,  one  of  you  be  musical,  much 
more  fun  and  interest  will  be  provoked  by  the  other 
manipulator  introducing  a figure  playing  a corre- 
sponding instrument  - — fiddle,  cornet,  trombone, 
bassoon,  bagpipes,  or  what  not. 

Not  more  than  five  minutes  should  elapse  between 
the  plays  or  sketches.  It  will  be  found  best,  too,  tp 
intersperse  each  longer  sketch  with  some  droll  little 
episodes.  Continuous  variety  keeps  up  continuous 
interest  and  merriment.  Take  it  as  an  axiom  that 
whatever  you  do — keep  doing  it.  Once  let  the 
audience  become  fidgety  aixl  it  may  lead  to  noisiness 
and  horseplay,  two  possibilities  it  will  be  for  the 
general  interest  and  well  being  to  keep  as  far  off  as 
possible. 


‘ 


CHAPTER  IV. 


SHADOW  PLAYS. 


Outlines  of  plays. — “ The  Broken  Bridge." — “ The 
Haunted  House." — “ Burnaby's  Bull," — "Mrs.  Bugg's 
Chimney " — “ Old  Tigg's  Day  S che old Down  Our 
Alley."  — “ A Marine  piece."  — “ Ally  Sloper's 
Menagerie." 


The  bare  outlines  of  a lew  short  plays,  particularly 


Fig.  20. 


SHADOW  PLAYS. 


33 


suitable  for  juveniles,  will  suggest  ideas  for  others. 
Our  first  sketch  is 

“The  Broken  Bridge.” — The  fixtures  are  two 
half  bridges  disunited  at  the  apex  (Fig.  20).  To  give 
greater  effect  to  the  sketch,  a’ strip  of  tin  (Fig.  21) 


Fig,  2 1; 


cut  in  a wavy  or  undulating  shape  on  the  upper  side, 
may  be  added  to  represent  rough  water.  This  may 
be  made  to  fit  into  the  base  of  each  bridge  side.  By 
making  your  boatman’s  craft  follow  these  undulations, 
much  more  fun  is  provoked  than  if  it  went  across  an 
apparently  level  surface.  For  the  play  sixteen 
separate  figures  are  required,  viz. : 


Bridge  (sections) 

Traveller 

Pickman 

Contractor 

Donkey  and  man 

Barrowman 


Crocodile 

Beggar 

Boatman 

Baker 

Ducks  and  geese 


Irishman  and  pi( 
Blind  man 
Old  lady 
Pleasure  boat 
Swan 


SCENE — Broken  Bridge.- 


Coniraclor  and  Pickman  (Figs.  22  and  23)  enter — Nego- 
tiations ‘take  place  for  mending  bridge  ; an  altercation 
ensues  respecting  the  cost  of  materials,  wages  per  hour, 
how  often  beer  is  to  be  sent  up,  etc. 

Pickman  (left  alone)  soliloquises,  then  sings  : 

“ The  bridge  is  broke  and  must  be  mended. 

Fol-rol-di-rid-dle-dol-de-dav.” 


3 


34 


SHADOW  ENTERTAINMENTS. 


Tune  ; 


Si  I d :d  Ir  :r  Is  :s 
The  bridge  is  broke  and  must  be 

, A -rf  \ - h 

In  :d  | 

mend  - ed  ; 

' 1/  * N N ...  k 

; 1 

rim.  * $ Jf  gf  fS 

1 

f/h  1 f 9 # A N 

^32  _ ^ U . > * * * 

r>  I 

\T  w r f 

li  :f  .,n  in  .r  :d  .,t,  i d ; — f — H 

Fol  • rol  • di  • rid  • die  • dol  • de  - day. 


Fig.  22. 


Fig.  23. 


SHADOW  PLAYS. 


35 


Tt'aveller  (in  hurry)  comes  along  th£  other  side  of  bridge, 
stops  short,  shouts,  rages,  gesticulates  (Fig.  28). 

Pickmaii  (deaf)  finally  hears,  tells  him  to  keep  calm. 
“ What’s  up  ? ” Asks  what  he  wants.  (Sings  “ The 
Bridge  is  broke/’  etc.) 

Traveller  shouts,  “ To  cross.”  Asks  how  to  do  it.. 
Pickman  (still  working)  sings  : - 

“ O ! the  ducks  and  the  geese  they  all  swim  over. 

Fol-rol,”  etc. 

also  “The  bridge  is  broke,”  etc. 

Ducks  and  geese  swim  over  in  line  (Fig.  24). 


Traveller  asks  how  far  across  (with  much  fussing  and 
fuming). 

Pickman  sings  (still  working)  l 
“ O ! when  you’re  in  the  middle  you’re  half  way  over. 

Fol-rol,’,  etc. 

Traveller  (raging)  asks  tfce  depth. 

Pickman  sings : 

4<  O ! just  throw  in  a stone,  and  you’ll  soon  find  the  bottom. 

Fol-rol,”  etc. 

Ducks  and  geese  swim  over  again.  This  time 
Crocodile  swims  after  them,  opens  mouth  (Fig.  25),  and 
swallows  them. 

Traveller  (in  despair)  asks  how  deep,  etc. 


3b 


SHADOW  ENTERTAINMENTS. 


Fig.  25- 

Pickman  (facetiously) : 

“ O ! just  throw  in  a stone,  and  you’ll  soon  find  the  bottom. 

Fol-rol,”  etc. 

After  some  more  altercation,  a 

Boatman  (who  is  hailed)  appears,  rowing  hard  against 
tide  (Fig.  26). 


Pichnait  still  picking  and  singing. 

Traveller  makes  a bargain  to  cross.  Much  cautioning 
as  traveller  comes  down  steps.  Disputes  payment  when 
in  middle.  Funny  little  squabble,  in  which  stick  plays 
active  part. 


SHADOW  PLAYS. 


37 


Crocodile  hastens  matters. 

Beggar  (with  wooden  leg)  stumps  up  (Fig,.  27),  and  takes 
a rest.  Shouts  to  Pickman  opposite.  Similar  dialogue 
and  cross-grain  patter. 

Boatman  appears  again  ; 
after  “ confab,”  beggar  is 
taken  on  board.  Another 
dispute,  but  wooden  leg 
settles  the  matter,  helped 
by  crocodile. 

Swan  (with  lower  mandible 
working)  attacked  by  croc- 
odile. 

Donkey  (unmanageable), 
with  rider,  comes  on  bridge 
on  pickman’s  side.  Amusing 
scene  and  “tussle.”  Donkey 
finally  jumps  over  and  is 
attacked  by  crocodile. 

Baker  and  Barrow-man 
appear  on  opposite  sides 
while  pickman  is  gone  to 
dinner.  After  funny  arrange- 
ments,  boatman  takes  one 
over  and  brings  other  back,  barrow  being  towed  by  boat. 

Irishman  and  pig  come  up.  Pig  refractory,  attacks  pick- 
man  (again  at  work),  and  tumbles  over.  Boatman  and 
Irishman  strive  to  capture  it,  but  crocodile  gets  it. 

Pleasure  boat  sails  across,  colliding  with  boat.  Crocodile 
appears,  but  is  captured  by  Irishman,  who  is  swimming 
across. 

Old  lady  has  set  to  with  pickman,  and  a 

Blind  man  comes  up.  All  three  retire  together,  talking. 

Pickman  (returned  to  work)  is  attacked  by  the  crocodile, 
and  both  tumble  over  into  water  together. 


38 


SHADOW  ENTERTAINMENTS. 


“The  Haunted  House.1’ — The  fixtures  are  : In 
Scene  i,  the  house  ; in  Scene  2,  clock,  table,  chair, 
and  bedstead.  Twenty-three  separate  figures  are 
required,  viz. : 


House 

Mrs.  Gamp 

Jack 

Skeleton 

Ghost 

Chair 

Bridget 

Sweep 


Charley 

Cat 

Goat 

Table 

Musician 

Scotchman 

Sailor 

Dog 


Rat 

Bedstead 
Policeman 
New  lodger 
Drunken  man 
Lodger  in  shirt 
Clock 


SHADOW  PLAYS. 


39 


SCENE  I. — House  with  swing  door  (Fig.  29). 

Traveller  (just  in  by  train)  (Fig.  28)  walks  up  to  door, 
bewailing  weather,  lateness,  etc.  Knocks,  kicks. 

Mrs.  Gamp  (putting  head  out  of  window)  remonstrates, 
threatens,  apologises  (Fig.  3 1 ;,  and  is  persuaded.  Coming 
down,  lets  him  in.  Conversation  ensues,  lodgings  being 
bargained  for. 

Charley  (with  barrow  and  luggage)  arrives  (Fig.  30). 


Mrs.  Gamp  meets  him  and  scolds  him.  He  retaliates. 
Bridget  called.  Slavey  comes  with  broom,  sweeps  front, 
quarrels  with  Charley.  General  “row  up.”  Lodger  (the 
traveller)  appears.  In  spite  of  protests, 

Charley  drives  the  barrow  into  the  house. 

Jack  (with  luggage  on  back)  comes  grunting  in. 


40 


SHADOW  ENTERTAINMENTS, 


After  settlement,  both 
emerge  with  barrow,  grum- 
bling about  pay. 

Jack  gets  on  barrow  and 
rides  away. 

Bridget  makes  it  warm 
for  him.  Dog  also. 

Sweep  arrives  (Fig.  42). 
Mrs.  Gamp,  against  her 
will,  employs  him. 

Scotchman  (with  bag- 
pipes) plays  outside  house, 
to  Mrs.  Gamp’s  delight ; 
she  has  a mania  for  bag- 
pipes. (Performer  plays  on 
small  india-rubber  44  bag- 
pipes,” which  may  be  pur- 
chased for  sixpence  at  a 
toyshop.)  Mrs.  G.  dances. 

Sailor  (with  wooden  leg) 
(Fig.  32)  sings  outside  : 

“ For  she  wept  and  she  wailed 
When  the  schooner  sailed 

For  the  shores  of  Americay-ay-ay 
When  her  Jack  so  sound 
Was  bust  up  and  drowned 

On  the  shores  of  Americay-ay-ay,”  etc. 

Mrs.  Gamp  (much  affected)  relieves  his  wants. 

Policeman  collars  sailor  for  vagrancy  but  is  bought 
off  by  Mrs.  Gamp,  in  memory  of  her  dear  departed,  who 
also  went  to  Americay. 

£ Iusician  plays  tin  whistle.  (Performer  plays  one 
behind  screen.) 


P‘g-  3'- 


SHADOW  PLAYS. 


4* 


Drunken  man  (reeling  up)  solicits 
alms,  and  is  promptly  collared  by 
Policeman. 

Policeman  returns  and  courtsBridget, 
but  is  seen  by  Mrs.  Gamp,  who 
remonstrates.  * 


SCENE  ll.— Bed-room. 

Clock , chair , /ah/e  and  beds  lead 
standing  in  line  (Fig.  33). 

Lodger  enters  with  Mrs.  Gamp, who 
stating  terms  for  lodgings,  makes 
proper  and  amicable  engagement, 
telling  him  of  the  ill  repute  of 
chamber.  He  ignores  ghosts  and 
such  like.  He  bids  her  “Good 
night.”  Soliloquises,  finally  retires 
behind  clock  to  undress.  Appears  again  in  shirt  (Fig.  34 
can  be  put  into  the  most  comical  attitudes  by  having 
the  wires  free). 


Fig-  33- 


42 


SHADOW  ENTERTAINMENTS. 


Lodger  gets  into  bed  solilo- 
quising. 

Rat , cat  and  dog  appear  at  inter- 
vals, greatly  disturbing  him. 

Goat  runs  in  and  jumps  on  bed. 
Clock  strikes. 

Ghost  appears,  scuffle  with  same, 
also  a skeleton  (made  on  wires) 
dances  over  lodger.  Tables  and 
other  furniture  upset,  etc. 

Mrs.  Gamp  appears  with  police- 
man. Lodger  (allowed  to  re- 
dress behind  clock)  is  taken  into 
custody. 


‘ Barnaby’s  Bull.” — The  fixtures  are  a tree  and 
a rock  (Figs.  35  and  36).  Nine  figures  are  required, 
viz : 

Barnaby  Tidly  Wink  Bull 

Roadman  Tom  Bowling  Chawbacon 

Dog  Fatiman  Policeman 

Roadman  is  seen  busy  with  pickaxe  at  the  rock ; 
grumbles,  soliloquises,  perspires,  etc. 

Tidly  Wink  (an  aged  man  and  Tom  Bowling  (an  old 
sailor  with  wooden  leg.  Fig.  37)  meet  near  roadman. 
They  exchange  greetings,  talk  about  old  days  “when 
they  was  boys  together/’  etc. ; they  also  chat  with 
roadman. 


SHADOW  PLAYS. 


43 


f‘g-  36. 


44 


SHADOW  ENTERTAINMENTS. 


Chaif'bacon  (farmers  man)  rushes  on  with  hayfork 
(Fig.  38),  shouting  “Ha*  ver  seen  my  bull  ? ” blubbers, 
calls,  etc.  Others  say  “ No,”  and  ask  questions. 

Roadman  goes  home  for  a fresh  pick.  Old  men 
continue  gossiping. 


Bull  (Fig.  39)  runs  on.  Tom  Bowling  runs  away.  The 
animal  tosses  Tidly  Wink  and  runs  off. 

7 idly  Wink  (with  head  above  water)  shouts  that  he’s 
stuck  fast  in  the  ditch. 


SHADOW  PLAYS. 


45 


Chawbacon hurries  by,  when  he  espies  Tidly  in  the  ditch. 
Much  palaver  about  getting  him  out,  when  he  suddenly 
hooks  fork  on  to  Tidly* s neck  and  draws  him  gradually  out. 
He  then  goes  off. 


Ffc  39* 


Bull  re*appears,  with -Dog  at  heels,  and  Policeman  follow- 
ing. All  disappear,  when  policeman,  coming  back,  is 
tossed  by  bull,  which  comes  on  behind  him. 

Chazvbacon  defies  the  bull  with  hayfork. 

Fat i man  (a  very  fat  fellow)  comes  on  with  Barnaby  (a 
tall  farmer'.  Bull  soon  scatters  them.  * Finally  goes  off 
quietly  with  chawbacon. 


46 


SHADOW  ENTERTAINMENTS, 


“ Mrs.  Bugg’s  Chimney.” — The  fixture  is  a house 
with  connected  palisade  (Fig.  40).  Six  figures  are 
needed,  viz. : 

Mrs.  Bugg  Mrs.  Trot  Bloaterman 

Betsy  Dwilc  Cripps  the  Sweep  Goat 


Mrs.  Bugg  (Fig.  41)  (coming  to  gate)  wishes  she  could 
hear  a sweep,  her  chimney  is  dirty,  etc.,  etc.  Goes  in 
again. 


SHADOW  PLAYS. 


47 


Bloaterman  comes  by  shouting  “ Rale  Yarmith  Blowters,’* 
etc.  Stops  and  yells  at  gate,  then  goes'  away 


Fig.  41.  Fig.  4-2. 

Betsy  Dwile  (sent  out  to  buy  a fish)  runs  after  him.  The 
selling  of  bloater,  its  praise,  etc.  She  returns ; the  fish 
‘‘stinks,”  etc.  A scolding  match  follows. 

Cripps  (Fig.  42)  comes  by  shouting  '‘Sweep.”  He  is 
hailed;  stops  at  gate;  bargain  is  about  being  struck;  when 

Mrs.  Trot  (a  neighbour)  runs  up  and  wants  sweep  first ; 
Another  scolding  match  follows. 

Cripps  goes  in  and  commences- operations.  Brush  (fixed 
on  side  of  house,  as  in  Fig.  40)  goes,  out  of  chimney Y 
Asks  “ Is  it  out  of  the  Hue  yet,  missus  ? ” 


48 


SHADOW  ENTERTAINMENTS. 


Mis.  Bugg  (who  is  near  sighted)  goes  out  and  protests 
it  is  not. 

Cripps  goes  out  and  calls  her  a “ fibber,”  and  says  that 
“ she  wants  nine-penn’orth  for  sixpence.”  Quarrel  ensues, 
because  she  wants  it  done  for  threepence. 

Goat  rushes  in,  upsets  soot  (so  the  talk  makes  out),  and 
there  is  a general  stampede. 

Cripps  goes  away  grumbling,  and  cries  “Sweep!” 
between  his  angry  exclamations. 


“ Old  Tigg’s  Day  School.” — The  fixtures  are  the 
master’s  desk  and  an  easel  (Figs.  43  and  44).  The 
figures  are  five,  viz.  : 


SHADOW  PLAYS. 


49 


Master  Tigg  Truant  Dunce 

Attendance  Officer  Old  Woman 


Tigg  (Fig.  45)  (school-master)  demands  silence.  Calls 
dunce,  and  asks  him  curious  questions  in  spelling,  geo- 
graphy, history,  arithmetic,  natural  history,  etc. 

Duiice  gives  wrong  answers  to  every  question  ; then 
recites  some  stupid  verses.  Gets  caned  as  a conse- 
quence. 

Attendance  Officer  (Fig.  46)  comes  in,  with  a hand  on 
truant’s  shoulder.  He  talks  to  Master  Tigg,  giving  boy 
a fearfully  bad  character : then  leaves,  shaking  fist  at 
boy. 


SHADOW  ENTERTAINMENTS, 


50 

1 Truant  gives  all  sons  of  excuses  for  conduct;  receives  a 
lecture  from  master;  is  caned  and  dismissed. 

O'd  Woman  (whose  boy  has  been  caned)  comes  into  the 
school.  Abuses  master,  who  whacks  her  with  stick ; 
sha  retaliates  by  upsetting  him,  as  well  as  his  easel  and 
desk.. 


“ Down  Our  Alley." — The  fixtures  are  two  sides 
of  alley  (Figs.  47  and  48).  The  figures  are  nine, 
viz. : 


Fig.  47. 


SHADOW  PLAYS. 


51 


Mrs.  Cockerel 
Mrs.  Flowerpot 
Fishmonger 
Postman 
Policeman 


(Neighbours) 


Coalman 

Sandman 

Stickman 

Masher 


Postman  comes  along,  rat-tatting  ; gives  Mrs.  Cockerel  a 
letter  belonging  to  Mrs.  Flowerpot.  These  two  ladies  appear, 
and  have  a general  “ set-to,”  allowing  everybody  within 
hearing  to  know  much  more  than  is  necessary  or  good 
for  them,  respecting  their,  own  business  and  everybody 
else’s. 

Coalman  yelps  his  wares.  Both  neighbours  order  a 
ton.  One  wants  them  “ on  tick  ” (after  they  are  in  her 


52  SHADOW  ENTERTAINMENTS. 

coal  cupboard)  ; he  protests,  and  takes  them  all  back 
again. 

Policeman  keeps  putting  in  an  appearance  ; sometimes 
during  a “row,”  sometimes  afterwards — generally  after- 
wards. 

Fishmonger  walks  across,  crying  fish.  He  meets  with 
queer  customers  ; gossips  with  policeman  ; chats  with  Mrs. 
Flowerpot,  to  Mrs.  Cockerel’s  great  indignation. 

Sandman  (Fig.  49)  (with  barrow)  comes  one  way:  his 
rival,  the 

Slickman  (Fig.  50)  comes  the  other ; they  meet,  and  have 
an  unpleasant  time  of  it,  shouting  at  each  other,  and  thump- 
ing their  barrows  together.  Policeman  separates  them  and 


p'.g-  49 


SHADOW  FLAYS. 


53 


gets  jammed  between  the  barrows.  One  finally  wheels 
him  off  to  hospital.  They  meet  again,  when  a 

Masher  comes  along  and  is  served  similarly,  the  whole 
neighbourhood  turning  out  en  masse  to  hoot  him  out  of 
the  alley. 


“ A Marine  Piece.” — The  only  fixture  is  a jetty 
(F*g-  51)-  The  figures  are  various,  amongst  them : 


Policeman 
Ice-cream  Man 
Soldier 
Nursemaid 
Oyster-man 


Boy  on  Donkey 

Fiddler 

Goat-chaise 

Organ-grinder 

Trombonist 


Cornet-player 

Boats 

Ships 

Steamboats 

Etc. 


54 


SHADOW  ENTERTAINMENTS. 


Fig-  51* 


After  fixing  jetty,  various  figures  pass  on  at 
the  discretion  of  the  performer.  Such  figures  as 
musicians,  pedestrians,  riders,  sellers,  buyers,  etc.,  may 
be  made  to  do  their  varied  performances  on  the 


5* 


SHADOW  PLAYS 


55 


supposed  parade  ; then  the  ship,  steam  tugs  (Fig- 
52),  with  rowing  and  sailing  boats  (Fig.  53)  may  take 
their  turn  on  the  supposed  sea.  A stretch  of  imagina- 
tion on  the  part  of  the  audience  will  allow  of  the 
two  effects  being  worked  together. 


“Ally  Sloper’s  Menagerie.” — To  the  above  may 
be  added  “Ally  Sloper’s  Menagerie,”  with  various 
animals  trotted  out  for  inspection,  e.g.t  elephant 
(Fig.  12),  camel,  lion  (Fig.  13),  zebra,  ostrich, 
kangaroo,  etc.,  every  one  of  which  may  be  made 
with  a movable  leg,  head,  tail,  or  trunk,  and  each 
one  will  afford  fun  by  attacking  Ally  in  turn.  The 


56 


SHADOW  ENTERTAINMENTS. 


figures  required  are  Ally  Sloper,,  the"  menagerie 
keeper,  and  the  stable  boy  or  keeper. 

Scores  of  other  episodes  might  be  cited,  but  an 
imaginative  mind  may  create  them  until  further 
orders. 


“ A Tailpiece.’ 


CHAPTER  V. 

SHADOW  TABLEAUX. 

Arrangement  of  light  and  screen . — Leap  into  cloud- 
land . — Surgical  operations . 

Where  sufficient  room  is  available,  “life  shadows,0 
such  as  are  displayed  in  pantomimes,  may  be  made 
exceedingly  droll  and  interesting.  The  performers 
are  generally  silent,  everything  being  explained  by 
gesture.  There  is  no  limit  to  the  effects  which  may 
be  introduced  in  shadow  subjects.  The  jump  through 
the  ceiling  generally  winds  up  or  interlards  the  per- 
formances, and  is  produced  as  follows  : All  lights 
must  be  removed  from  the  room  in  which  the 
spectators  are  gathered  and  also  from  the  space  set 
apart  for  the  performers  except  one,  which  must  be 
placed  as  at  d in  Fig.  54.  The  stronger  the  light, 
the  more  distinct  the  figures.  A represents  the 
screen,  or  sheet,  hung  between  actors  and  audience  ; 
b is  the  door  through  which  the  actors  appear  on 
the  scene  ; e is  a very  tall  and  strong  box  or  table, 
and  c is  a stool  or  low  box  ; d is  a medium  stand. 


58 


SHADOW  ENTERTAINMENTS. 


upon  which  the  light  is  burning.  The  performer 
entering  at  b,  his  shadow  is  projected  on  the  screen. 
Standing  close  to  it,  his  shadow  will  be  seen  life-size 
and  very  sharply  defined,  every  action  “ speaking  ” 
distinctly.  As  he  recedes  and  gets  nearer  to  the 
light  this  shadow  increases  accordingly,  and  when 


F&  54- 


close  to  it  he  will  appear  oi  enormous  dimensions. 
A receding  and  an  approaching  figure  apparently 
fighting  make  great  diversion-  The  leap  into  cloud- 
land  is  now  easily  accomplished  by  stepping  upon  c 
and  springing  carefully  over  the  light  on  to  e.  To 
the  spectators  it  will  appear  as  if  the  performer  had 
jumped  through  the  ceiling  (Fig-  55)- 


SHADOW  TABLEAUX. 


59 

Most  amusing  imitations  of  everyday  life  may  be 
performed,  e.g.,  the  drawing  of  a tooth,  a huge  card- 
board molar  (concealed  by  the  side  of  the  patient’s 
head)  being  shown  to  the  audience  as  having  been  at 
the  bottom  of  the  whole  matter.  A policeman  may 
be  thrown  upon  a table,  drawn  close  to  the  screen, 
and  an  enormous  saw  made  to  appear  as  if  being 


Fig*  55* 


used  in  opening  his  stomach.  The  throwing  back  of 
the  flaps  of  his  coat  will  add  a touch  of  something 
like  reality.  Under  this  coat  has  been  concealed  a 
strange  medley  of  things  supposed  to  have  been 
eaten  by  him  when  making  himself  comfortable 
in  certain  kitchens  on  his  beat.  A sheep’s  head,  a 
herring,  a turnip,  an  onion,  a gridiron,  sausages, 
cakes,  loaves,  and  fifty  other  things  may  be  “ taken 


6o 


SHADOW  ENTERTAINMENTS. 


out  ” of  him ; a running  fire  of  humorous  patter 
keeping  the  fun  of  the  audience  continually  on  the 
boil.  It  must  be  explained  that  policemen  have 
prodigious  appetites,  accommodating  stomachs,  and 
often  a strange  absence  of  mind,  as  is  shown  now  by 
his  swallowing  the  pie-dish,  frying-pan,  etc.,  when 
appropriating  their  contents.  Finally  he  may  be 
sewn  up,  revivified,  and  sent  about  his  business,  a 
hungrier  and  wiser  man.  There  is  absolutely  no 
limit  to  the  comic  effects  and  “take-offs”  which 
may  be  introduced  behind  the  screen. 


CHAPTER  VI. 

SHADOW  SUNDRIES. 


Talking  faces . — Cardboard  faces  of  various  nationali- 
ties. — M iscellaneous  hints . — Overhauling  apparatus. 

At  the  conclusion  of  a performance  with  mechanical 
figures,  some  very  funny  and  extraordinary  effects  may 
be  introduced  by  a very  small  display  of  ingenuity, 
and  a smaller  outlay  of  money. 

Talking  Faces.— Characteristic  taces  are  always 
popular  with  the  public.  As  the  lightning  sketching 
of  cartoons  of  public  men  always  “ brings  down  the 
house,”  so  these  in  profile  may  be  produced  in 


Fig.  56.  Fig.  57. 


Mr.  Binks*  substance.  Mr.  Binks’  shadow. 


62 


SHADOW  ENTERTAINMENTS. 


shadows  with  striking  effect.  The  make-up  is 
exceedingly  simple,  a few  sets  of  false  noses,  whiskers, 
moustachios,  sundry  hats,  etc.  (either  genuine  or 
imitated  in  cardboard),  being  all  that  are  necessary. 

The  following  will  give  a very  fair  idea  of  the 
modus  opcrandi  ; a fertile  mind  may  expand  the 
programme  at  pleasure. 

Mr.  Binks  (Figs.  56  and  57)  is  made  up  of  (1)  felt 
hat,  (2)  a false  nose  held  on  the  performer’s  head  by 
a piece  of  elastic  passing  round  the  ear,  (3)  false 


hair,  a bunch  of  tow  will  do,  or  even  a cardboard 
representation,  (4)  false  whiskers  held  on  by  means 


SHADOW  SUNDRIES. 


63 


of  elastic  going  round  the  ears,  (5)  a collar  of  card- 
board pinned  round  the  neck.  Ally  Sloper  (Figs.  58 
and  59)  facing  Mr.  Binks  upon  the  screen,  and  hold- 
ing a dialogue  with  him,  will  create  roars  of  laughter, 
especially  if  there  is  some  poking  of  noses  into  each 
other’s  faces.  A couple  of  stools  or  boxes  for  the 
performers  to  stand  on  will  of  course  be  necessary. 


Fig.  59. — Ally  Sloper’s  shadow. 

Cardboard  Faces. — Faces  of  celebrated  men  and 
men  of  various  nationalities  may  be  "cut  out  in 
cardboard  and  introduced,  a few  words  being  said 
regarding  each  individual  brought  forward.  A dozen 
samples  are  given  in  Figs.  60  to  71  ; they  should  be 
made  life-size. 


64 


SHADOW  ENTERTAINMENTS, 


SHADOW  SUNDRIES. 


^5 


5 


SHADOW  ENTERTAINMENTS. 


SHADOW  SUNDRIES. 


67 


Miscellaneous  Hints. — The  various  fixtures,  e.g., 
the  tree  (Fig.  35),  the  rock  (Fig.  36),  and  the  desk 
(Fig.  43),  may  be  made  less  complex  and  perhaps 
more  stable  if,  instead  of  the  lower  part  being 
extended  into  holdfasts  to  stride  across  and  fix  upon 
the  spline  (No.  8 in  Fig  1),  they  are  made  with  a 


more  solid  basis,  turned  or  bent  at  right  angles,  and 
simply  placed  upon  a small,  narrow  shelf  with  a 
square  leaden  weight  placed  upon  them  (as  in  Fig. 
72,  which  represents  a piece  of  rock  with  the  weight 
placed  thereon).  To  adapt  the  “ stage  ” for  this 
kind  of  fixture,  another  narrow  piece  of  spline  must 
be  tacked  horizontally  on  to  the  vertical  spline 
(No.  8 in  Fig.  1). 

A great  deal  of  merriment  may  be  aroused  in 
tableaux  where  barrows  and  other  vehicles  are  intro- 
duced, by  placing  single  figures — e.g.9  policemen, 
wooden-legged  men,  and  others — upon  them.  This 


68 


SHADOW  ENTERTAINMENTS. 


will  be  found  very  easy  to  do,  especially  if  the 
unfortunate  individual  has  a movable  leg  or  body. 

When  entertainments  are  given  at  a distance,  the 
performer  must  thoroughly  overhaul  every  figure 
before  setting  out  : the  limbs  and  levers,  if  bent, 
should  be  straightened,  loose  rivets  re-adjusted,  miss- 
ing or  faulty  ones  replaced,  and  stiff  figures  oiled  and 
made  to  move  easily  and  noiselessly.  Before  putting 
the  figures  away,  they  should  be  oiled  at  the  joints 
and  rivets,  and  they  should  be  stowed  in  a thoroughly 
dry  place.  Tin  has  a sad  propensity  for  rusting  if 
badly  or  carelessly  kept ; but  well  cared  for  figures 
will  last  for  years. 

The  performer  must  also  add  to  his  stock-in-trade 
the  tools  I have  previously  mentioned.  These,  with 
some  surplus  rivets,  levers,  bits  of  tin,  nuts  and  bolts, 
tacks,  loose  string,  and  such  like,  should  be  kept  in  a 
small  box  by  themselves,  or  in  a locker  constructed 
in  the  figure-trunk. 

The  curtains  should  be  carefully  folded  after  each 
performance,  and  wrapped  in  a sheet  of  brown  paper, 
as  should  the  screen.  1 have  tried  damping  the 
screen  before  performing  ; this  certainly  made  the 
figures, show  up  more  clearly,  but  the  advantages 
gained  did  not  counterbalance  the  inconveniences. 
A damp  screen  is  an  awkward  thing  to  put  away,  it 
is  apt  to  mddew  ; and  contact  with  the  figures 
provokes  rust. 


CHAPTER  VII. 

PUBLIC  PERFORMANCES. 

Gaining  admission  to  schools . — Addresses  to  patrons . 
— T estimonials . — Specimen  handbill. 

It  is  not  so  easy  a matter  nowadays  to  gain  admission 
into  public  schools,  particularly  the  Board  schools, 
as  it  was  a few  years  ago.  There  are  many  restric- 
tions now  that  were  unknown  in  the  old  days.  Then, 
of  course,  there  were  so  many  humbugs  swindling  the 
children  out  of  their  halfpence,  that  honest  caterers 
have  to  suffer  for  the  naughtiness  of  others.  To  gain 
access  to  the  Board  schools  of  any  town  the  chair- 
man should  be  first  sought,  and  his  sanction,  prefer- 
ably on  paper,  obtained.  Armed  with  this  permit, 
few  masters  will  refuse  one  permission  to  perform 
before  their  children.  For  Church  school  perform- 
ances the  vicar,  or  other  clergyman,  has  first  to  be 
won  over. 

Of  course  these  remarks  are  made  only  to  those 
who  wish  to  try  shadow  entertainments  as  a means 
of  supplementing  their  incomes.  There  is  a right 
way  as  well  as  a wrong  way  of  Setting  out  upon  this 


7 o 


SHADOW  ENTERTAINMENTS. 


business.  The  first  and  principal  recommendations 
are  an  honest  face  and  a tidy  appearance.  A ready 
tongue  is  a famous  adjunct.  If  the  performer  gain 
a hearing,  he  should  produce  a figure  or  two,  the 
more  complex  in  make  the  better.  If  he  succeed  in 
gaining  his  hearer's  attention  things  wall  swim,- and 
he  will  carry  with  him  into  the  next  town  or  village 
a capital  testimonial,  more  especially  if  he  can  induce 
the  vicar  or  Board  school  chairman  to  record  his 
commendation  on  a sheet  of  paper.  The  showman 
should  preserve  these  testimonials  in  his  pocket- 
book,  pasting  them  in  if  possible,  and  never  be  loth 
to  show  them ; but  he  should  keep  them  clean,  for 
folks  reckon  a man  up  by  appearances. 

If  you  fail  to  gain  access,  send  in  a circular  printed 
somewhat  as  follows  : 

Address  to  the  Patron  of  the  Schools. 

Sir, — In  these  enlightened  days,  in  which  elec- 
tricity in  all  its  branches  and  kindred  sciences  have 
made  such  rapid  strides,  it  is  pleasing  to  note  that  a 
corresponding  improvement  has  been  made  in  the 
means  by  which  the  young  are  amused  and  inter- 
ested. The  studies  of  the  children  are  necessarily 
laborious  and  depressing ; what  can  better  relieve 
the  strain  upon  the  little  ones  than  an  occasional 
and  a hearty  bit  of  mirth  and  laughter  ? 

To  assist — somewhat  feebly  perhaps — in  this  good 
work,  the  proprietor  of  the  Eclipse  Shadowgraphic 


PUBLIC  PERFORMANCES. 


71 


Entertainment  has  produced  his  marvellously  mirth- 
provoking  entertainment.  One  hour’s  solid  fun  is 
made  by  upwards  of  100  mechanical  figures  thrown 
upon  a screen.  (See  enclosed  bill.) 

With  your  kind  permission  I shall  be  pleased  to 
give  (a)  select  performance^  in  your  school (sj  (each) 
this  afternoon. 

Awaiting  your  esteemed  favour, 

I am,  Sir,  yours  truTy, 

(The  Vicar)  John  Baldwin. 

Another  circular  to  be  sent  to  managers  of  school 
treats,  Band  of  Hope  entertainments,  sales  of 
work,  bazaars,  village  club  feasts,  etc.,  may  read  as 
follows : 

adopts  Extraordinary. 

6,  Tower  Cottages, 
Pikely. 

Sir, — Having  made  arrangements  with  Professor 
Twinket  to  give  select  Shadowgraph  Performances 
during  the  coming  winter  season,  I shall  esteem  it  a 
great  favour  if  you  will  bear  my  entertainment  in 
mind. 

Terms  for  Bazaars,  School  and  Band  of  Hope 
Treats,  Sales  of  Work,  etc.,  on  application. 

Note. — This  is  the  only  genuine  Shadowgraphic 
Entertainment  in  the  Town  or  County. 

John  Baldwin. 

, (BiU  enclosed.) 


72  JHADOW  ENTERTAINMENTS. 

A UNIQUE 

Shadow  * work  Entertainment 

WILL  BE  GIVEN 

AFTER  SCHOOL  THIS  AFTERNOON 

(By  kind  Permission). 

ONE  EACH. 

Select,  Instructive , Extraordinary , Funny , Eccentric, 
Unexcelled . 


SEVERAL 


COMIC  SKETCHES  AND  TABLEAUX 

Will  be  introduced. 


— PROGRAMME.  — 

1.  —The  Broken  Bridge,  and  what  came  of  it. 

2 . —Mr.  Shakey's  Lodgings  ; or,  the  Haunted  House. 

3. -~Plays— Barney’s  Bull,  Old  Tigg’s  Academy,  Down 

our  Alley,  etc. 

4. — Character  Faces,  Nationalities,  etc. 

5. — Ally  Sloper’s  Menagerie  of  Performing  Animals. 

A Selection  0/  Music  will  be  played. 


fcT  100  MECHANICAL  FIGURES.  «©# 

QUAINT  AND  CHARACTERISTIC. 

They  work  their  Arms,  and  Heads,  and  Lfegs. 

Each  Moves,  Walks,  Talks,  Sits,  Works,  or  Begs; 

Whilst  every  one  is  Droll  and  Funny, 

And_a  Penny  charge  is  all  the  Money. 


PUBLIC  PERFORMANCES. 


IS 


Whatever  else  you  may  forget,  remember  th< 
following : Give  money’s  worth,  advertise  well,  ge 
your  show  reported  in  the  papers,  and  value  you 
testimonials  or  recommendations  as  you  would  you; 
pence. 


r / n / s 


* 


6 


INDEX 


PACK. 


Accessories  for  Shadow  Tableaux  57 

Accidents  ...  ...  * 

...  29 

Address  to  Patrons  of  Schools 

...  70 

Angles  and  Screw-eye^  for  Frame- 

work 

...  10 

Animals  ...  ...  21 

, 22,  45 

Arms,  'Making  and  Fixing 

...  18 

Arrangement  of  Light  and  Screen  57 

Breakdowns,  “ Patter”  for 

29,  30 

,,  To  Prevent  ... 

...  30 

Broken  Bridge  

...  32 

Cardboard  Faces  ... 

...  63 

Chinaman 

...  65 

,,  Disraeli... 

...  66 

,,  German 

...  64 

,,  Indian  ... 

...  65 

,,  Irishman 

...  64 

,,  King  Coffee 

..  65 

,,  Roman  Soldier 

...  64 

,,  Russian 

...  66 

,,  Scotchman 

...  64 

,,  Shakespeare  ... 

...  66 

The  G O.  M. 

Turk  ... 

Care  of  Shadow  Figures  . . 
Character  Figures  34 

40-44,  47, 
Circular,  Form  of  ... 


66 
65 
27,  68 
36,  37'  39. 
49.  52.  53 
70.  71 


PAG  K. 


Clinching  Rivets  ...  ...  ...  18 

Complicated  Figures  20,  21,  34,  36, 

37, 38, 43, 49 

Curtains  12,68 

„ Care  of  68 

,,  How  to  Darken  ...  ...  13 

,,  Material  for  ..  12 

Cutting  Out  Figures  ...  ...  17 

Damp  Screen  ...  ...  ...  68 

Dimensions  of  Splines  for  Frame- 
work ...  ...  ...  ...  9 

Duties  of  Performers  ...  ...  27 

Effects  for  Set  Pieces,  llow  to  Make : 
Broken  Bridge  ...  24,  33 

Wheeled  Figures  ...  ....  25 

Windmill  25 

Elephant,  An  21 

Entertainments,  Remarks  on  ...  17 

Everyday  Life  Imitations  ..  ...  58 

Faces,  Talking  ...  61 

Figure  Making — 

,,  ,,  Arm,  The  ...  18 

,,  Elephant  21 

..  Lion  and  Bear  ...  22 

..  Mr.  Mole  17 

,,  Sailor,  A ...  20 

Figures,  Making  ...  16 

„ ,,  Materials,  For ...  16 


INDEX. 


PAGE. 

Filling  in  Intervals  30 

Fixtures  33,  38,  41,  42,  46.  48,  30. 

52.  54’  67 

,,  Adapting  the  Stage  for  67 
Flukes  When  Working  ..  ...  29 

Framework  for  Home  Exhibition  9,  13 
,,  ,,  ,,  .solid  14 

Front  for  a Home  Exhibition  ...  8 

„ Framework  for  Large  Rooms  S 

Frontage,  The  8 

,,  Framework  for  ...  9 

Handbill  for  Shadowgraphic  Enter- 
tainments   72 

Handles  for  Shadow  Figures  ...  19 

Height  of  Shadow  Figures  ...  15 

Hints  67 


,.  for  Life  Shadow  Performances  58 


„ for  Public  Performers 

7 3 

„ for  “ Showing  ” 

26,  28 

Home  Exhibition,  A 

..  8 

,,  ,,  Framework 

for  9 

,»  ..  Curtains  for 

...  12 

,,  Music  for 

...  31 

Imitations  of  Everyday  Life 

...  5s 

Intervals  

...  31 

Jetty  

54 

Keeping  Sets  Distinct 

...  27 

Lamp  

...  1 1 

,,  Position  for  ... 

10,  1 1 

,,  Support  for 

...•  10 

Lever  Wire 

...  19 

Use  of 

...  26 

Light  and  Screen,  Arrangement 

of  57 

Light,  The,  How  to  Enclose 

...  13 

Life  Shadows 

57 

75 

PAGP. 

Limb  Making  ...  18 

Lion  and  Bear  21 

Loop  Guides  ...  19 

Make-Up  for  Talking  Faces  ...  52 

Materials  for  Shadow  Figures  ...  16 

,,  for  Curtain  ...  ...  12 

Miscellaneous  Hints  ...  ...  67 

Ornamental  Device  ...  ...  13 

Outlines  of  Shadow  Plays  ...  32 

Overhauling  Apparatus  ...  ...  68 

“ Patter”  for  Breakdowns  29,  30 

Placing  Figures  When  Working...  2S 
Position  for  Performer  ...  ...  5S 

Positions  in  Shadow  Tableaux  ,.  >58 

Public  Performances  ...  ...  69 

..  ,,  Circulars  for, 

Forms  of  ...  ...  70.  7 j 

Public  Performances,  Hints  for  69,  73 
„ „ Specimen 

Handbills  for ...  ...  ...  72 

Recommendations  for  Public  Per- 
formers ...  ...  ...  70 

Reflector  for  Lamp  ...  ...  n 

Rivetting ...  18 

Sailing  Boat  ...  ...  ...  55 

Sailor,  A ...  ...  ...  20 

Set  Pieces  ...  ...  ...  ...  23 

Shadow  Entertainments, Remarks  on  7 
Shadow  Figures  ...  ...  15,  20 

,,  Care  of  ...  27,68 

>.  Height  of  . 15 

How  to  Make  ...  16 

Materials  for  ...  15 

NecessaryToclsfor  16 
Shadow  Machinery  ...  ...  .7 


76 


INDEX. 


PAGE. 


Shadow  Plays : 

“ Ally  Sloper’s  Menagerie  ”...  55 

“ Barnaby’s  Bull  ” ...  42 

Broken  Bridge  ” 33 

“ Down  our  Alley  ” ...  ...  50 

“ Haunted  House,  The”  ...  38 

“ Marine  Piece,  A ” 53 

“ Mrs.  Bugg’s  Chimney  ...  46 

“ Old  Tigg’s  Day  School’’  ...  48 

Outlines  of  32 

Shadow  Screen  13 

,,  ,,  Damp  68 

Shadow  Sundries 61 

Shadow  Tableaux : 

Arrangement  of  Light  and 

Screen  57 

Imitations  of  Everyday  Life...  58 
Jump  through  the  Ceiling  ...  57 

Leap  into  Cloudland 58 


PAGE 

Shadow  Tableaux  : 

Policeman,  The 

...  59 

Position  for  Performer 

...  58 

Shadow  Working 

...  27 

Shadovvgraphic  Handbill... 

...  72 

Ship 

- 54 

Showing  ...  

...  29 

Showing  the  Figures 

...  28 

Splitting  the  Rivet 

...  19 

Stays  for  Framework 

...  10 

Talking  Faces  

...  61 

Ally  Sloper  

62,  63 

Mr.  Binks  

...  61 

Testimonials  

...  70 

Tin  Figures,  Cost  of 

...  16 

Tools 

16,  63 

Wheelbarrow  

...  25 

Wheeled  Figures 

25,  67 

Windmill,  A 

...  25 

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Familiar  Recitations 

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Choice  Temperance  Recitations. 


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The  Century  Book  of  Irish  Wit  and  Humor 

This  book  is  the  cream  of  all  Irish  speakers.  Irish  Wit  and 
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The  Modern  Art  of  Making  Love  ual  of  Etiquette, 

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A.  B.  0.  Guide  to  Correct  Conduct,  tts 

of  etiquette,  or  Guide  to  the  Duties.  Pleasures,  Details  and 
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Brown’s  Business  Letter  Writer  and  Book  of 

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Bookkeeping  Without  a Master.  for  the  student, 

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The  New  Century  Webster  Dictionary 

The  very  latest  up-to-date;  28,000  words.  This  edition  has  been 
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First  Steps  in  Magnetism 

tended  strictly  as  an  introduction  to  the  science  of  which  it  treats. 
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U 


Telegraphy  and  How  to  Learn  it  9 ters  on  Elemen- 
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A.  B.  0.  Guide  to  Photography. 


By  T.  Stith  Bald- 
w , r win.  A practical 
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Fortune  Telling  by  Cards.  scribing  how  Cards  are 

“Read”  by  persons  professing  to  tell  fortunes  by  their  aid.  Mad- 
ame Chiro  is  wdthout  doubt  the  greatest  Fortune  Teller  by  means 
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The  Mystic  Circle  Fortune  Teller  and  Bream 

9 By  Mme.  De  La  Normand.  This  book  contains  an 
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The  Henneberry  Company  Make  Good  Books. 
Send  for  their  complete  catalogue. 


12 


The  Book  of  Card  Tricks  and  Sleight-of-Hand. 

By  Prof.  R.  Kunard.  There  is  no  book  published  on  this  subject 
that  has  met  with  the- favor  and  demand  than  has  this  little  book 
of  182  pages.  Nearly  every  card  trick  known  is  fully  exposed  by 
explicit  directions  and  carefully  prepared  illustrations.  De- 
signed for  parlor  and  stage  entertainments  by  professionals  and 
amateurs  who  may  become  experts  with  a little  practice. 

Handsome  paper  covers,  printed  in  three  colors 25  cts. 

Red  silk  cloth,  back  and  sides  stamped  in  gold 50  cts. 


Prantinal  Vptltrilnnilicm  OBy  Robert  Ganthony.  Athor- 
riCtuMuCll  V Dll  II  IIUljlBIJll!  oughly  reliable  guide  to  the 
Art  of  Voice  Throwing  and  Vocal  Mimicry,  Vocal  Instrumenta- 
tion, Ventriloquial  Figures,  Entertaining,  etc.  The  long  experi- 
ence of  the  author  on  the  stage  and  in  teaching  this  wonderful 
art  by  correspondence  is  conclusive  evidence  that  by  a little 
application  to  the  fundamental  principles  laid  down  in  this  book, 
and  by  frequent  practice  after  acquiring  the  two  or  three  simple 
rules,  you  can  become  an  adept  in  the  art.  Fully  illustrated. 


Elegantly  bound  in 

Handsome  paper  covers  printed  in  three  colors 25  cts. 

Red  silk  cloth,  back  and  side  stamped  in  gold 50  cts. 


Herrmann’s  Conjuring  for  Amateurs, 

how  to  perform  modern  tricks,  by  Prof.  Herrmann.  Great  care 
has  been  exercised  by  the  author  to  include  in  this  book  only 
such  tricks  as  have  never  before  appeared  in  print.  This  assures 
the  performer  a secret  and  almost  endless  fund  for  suitable 
material  to  be  used  on  all  occasions.  With  little  practice,  almost 
anyone  can  perform  the  more  simple  tricks,  and  with  practice, 
as  he  becomes  more  adept,  he  can  perform  the  most  difficult.  No 
book  published  contains  a greater  variety  of  material  for  con- 
jurers and  sleight-of-hand  performers  than  this  book.  Coins, 
cards,  silk  hat,  handkerchiefs,  balls,  are  all  introduced  in  the 
many  programs  offered,  thus  affording  one  an  endless  variety 
from  which  to  select  for  parlor  or  stage  entertainments. 


Handsome  paper  covers  printed  in  three  colors 25  cts. 

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Shadow  Entertainments. 

shadows  are  made  and  how  to  work  them,  so  as  to  produce  ex- 
tremely funny  situations,  thus  providing  an  evening’s  entertain- 
ment of  a most  enjoyable  kind.  A hundred  illustrations  with  full 
description  of  each  has  made  this  book  extremely  popular. 


Handsome  paper  covers  printed  in  three  colors 25  cts. 

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XVCU  C1.UU-L,  Ucl/Oii.  ctxiu.  SiUC  1JJ.  guiu. . .OU  Cts. 

Keller’s  Variety  Entertainments.  This  is  a collection 

of  original,  laughable  skits  on  Conjuring,  Physiognomy,  Jug- 
gling, Performing  feats.  Wax  Works,  Panoramas,  Phrenology, 
Phonography,  Second  Sight,  Lightning  Calculators,  Ventrilo- 
quism, Spiritualism,  etc.,  to  which  are  added  Humorous 
Sketches,  Whimsical  Recitals,  Parlor,  Club  and  Lodge-Room 


Comedies,  Fully  illustrated. 

Handsome  paper  covers  printed  in  three  colors... 25  cts. 

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The  Henneberry  Company  Make  Good  Books. 

5end  for  their  complete  catalogue. 


McClure’s  American  Horse,  Cattle  and  Sheep 

nnotflK  McClure,  M.  D.,  V.  S.  As  a stock  doctor 

UUulUl  • book,  treating-  the  diseases  of  the  three  most  profit- 
able as  well  as  most  common  of  farm  animals,  save  the  hog,  this 
book  never  had  a peer.  It  is  the  most  valuable  book  ever  pre- 
pared for  the  farmer,  and  if  we  may  judge  its  popularity  by  its 
sale,  it  is  the  most  successful  book  for  the  farmer  and  stock 
raiser  ever  written.  The  illustrations  are  excellent. 
Handsomely  bound  in  silk  cloth.  Price $1.50 

American  Standard  Poultry  Book.  Wright.  This 

book  is  the  recognized  standard  treatise  on  Poultry  Raising.  It 
treats  fully  all  phases  of  the  business — incubators,  houses, 
brooders;  the  various  breeds — ducks,  turkeys,  geese,  guineas ; the 
diseases  of  each  ; how  and  what  to  feed  ; how  to  market — in  short, 
if  one  follows  the  instructions  contained  herein,  he  may  con- 
fidently look  for  success.  Profusely  illustrated  and  bound  in 


Handsome  paper  covers,  printed  in  three  colors 25  cts. 

Red  silk  cloth,  back  and  side  stamped  in  gold 50  cts. 


Standard  Belgian  Hare  Book 

Hares  is  no  longer  a fad;  as  a commercial  enterprise,  it  is  bring- 
ing thousands  of  dollars  to  those  who  are  engaged  in  the  busi- 
ness. Belgian  Hare  raising  is  the  most  profitable  business  one 
can  engage  in,  and  there  is  no  reason  why  a fortune  cannot  be 
made  in  a few  years  if  one  will  study  carefully  the  methods  laid 
down  in  this  book,  and  avoid  making  the  mistakes  that  prove 
costly  in  all  new  enterprises.  Diseases  common  to  Rabbits  are 
fully  treated.  The  book  is  profusely  illustrated  and  bound  in 


Handsome  paper  covers,  printed  in  three  colors 25  cts. 

Red  silk  cloth,  back  and  side  stamped  in  gold 50  cts. 


A.  B.  C.  Guide  to  Poultry-Keeping 

the  endorsement  of  the  leading  poultry  raisers  of  the  United 
States,  Canada,  and  even  Europe  where  it  has  found  its  way,  be- 
cause of  its  completeness  and  honest  treatment  of  the  pains  and 
penalties  as  well  as  the  pleasure  and  profit  in  poultry  raising. 
Fully  illustrated. 

Handsome  paper  covers,  printed  in  three  colors — 25  cts. 

Red  silk  cloth,  back  and  side  stamped  in  gold 50  cts. 


A.  B.  G.  Guide  to  Bee-Keeping.  A practical  manual 

of  the  proper  care  and  management  of  Bees,  designed  especially 
for  amateurs,  beginners  and  farmers,  and  all  others,  including 
experts  who  have  found  this  book  the  most  helpful  guide  to  api- 
culture published.  Newly  revised  and  enlarged.  More  than  100 


pages  and  profusely  illustrated. 

Handsome  paper  covers,  printed  in  three  colors 25  cts. 

Red  silk  cloth,  back  and  side  stamped  in  gold 50  cts. 


The  Henneberry  Company  Make  Good  Books. 

Send  lor  their  complete  catalogue. 


Swine  and  Their  Diseases.  This  brief  treatise  on 

Swine  and  their  Diseases  is  the  best  ever  published,  because  of 
the  simplicity  of  treatment  and  sure  cure  of  every  disease  of  the 
hog,  when  the  remedies  are  administered  in  time,  and  in  the 
manner  prescribed  in  this  handy  little  volume.  The  remedies  are 
inexpensive ; most  farmers  constantly  keep  in  the  house  about 
all  the  medicines  recommended  in  this  treatise.  The  great  popu- 
larity of  this  book  lies  in  the  success  its  remedies  have  afforded 
all  who  have  had  occasion  to  use  them.  Fully  illustrated. 


Handsome  paper  covers  printed  in  three  colors 25  cts. 

Red  silk  cloth,  back  and  side  stamped  in  gold 50  cts. 


Sheep  and  Their  Diseases  This  excellent  -work  on 

Sheep  coming  from  so  high  an  authority  places  it  at  once  at  the 
top  among  the  special  books  for  stock  raisers.  The  subjects 
treated  include:  The  History  and  Variety;  the  Best  Modes  of 
Breeding;  their  Feeding  and  Management;  the  Diseases  to  which 
They  are  Subject  and  the  Appropriate  Remedies  for  each,  with 
numerous  illustrations  of  buildings  and  out-houses,  as  well  as  of 
the  variety  and  kinds  of  sheep  suitable  for  market.  250  pages. 


Elegantly  bound. 

Handsome  paper  covers  printed  in  three  colors 50  cts. 

Red  silk  cloth,  back  and  side  stamped  in  gold $1.00 


Gleason’s  Horse-Training  Made  Easy. 

V.  S.  This  is  a new  and  practical  system  of  Teaching  and  Edu- 
cating the  Horse.  There  are  chapters  on  Whip  Training;  or, How 
to  Drive  without  Reins;  How  to  Make  a Horse  Trot  Honest; 
Essay  on  Horseshoeing;  with  treatment  of  the  various  diseases 
of  the  Horse,  including  a full  and  complete  history  of  Glanders. 
This  is  the  simplest  and  best  book  of  its  kind  published,  and  is 
fully  illustrated.  In  addition  to  many  small  cuts  there  are  sev 


eral  full  page  illustrations.  Elegantly  bound. 

Handsome  paper  covers  printed  in  three  colors 25  cts. 

Red  silk  cloth,  back  and  side  stamped  in  gold 50  cts. 


Standard  Poultry  and  Belgian  Hare  Book 

The  raising  of  Belgian  Hares  as  well  as  Poultry  is  no  longer  a 
fad  ; both  as  commercial  enterprises  are  bringing  millions  of  dol- 
lars to  those  who  are  engaged  in  the  business.  Poultry  and  Bel- 
gian Hare  raising  is  the  most  profitable  business  one  can  engage 
in,  and  there  is  no  reason  why  a fortune  cannot  be  made  in  a 
few  years  if  one  will  study  carefully  the  methods  laid  down  in 
this  book  and  avoid  making  the  mistakes  that  prove  costly  in  all 
new  enterprises.  Diseases  common  to  Poultry  and  Rabbits  are 
fully  treated.  The  book  is  profusely  illustrated  and  bound  in 


Handsome  paper  covers,  printed  in  three  colors 50  cts 

Red  silk  cloth,  back  and  side  stamped  in  gold  $1  00 


The  Henneberry  Company  Make  Good  Books. 

Send  for  their  complete  catalogue. 


15 


Complete  Buffet  Manual,  or  How  to  Mix  Fancy 

ririnl/C  The  need  of  an  Up-to-date  book,  treating  on  this  sub- 
UllllRo.  ject  has  been  a long  felt  want.  We  earnestly  believe 
that  this  want  is  now  supplied  by  this  book,  and  we  trust  the 
reader,  if  he  becomes  the  practitioner,  will  enjoy  the  beverage* 
after  following  the  directions,  as  much  as  the  author  did  in  pre- 
paring this  handy  little  volume. 

Handsome  paper  covers,  printed  in  three  colors 25  cts. 

Red  silk  cloth,  back  and  side  stamped  in  gold 50  cts. 


Plain  Medical  Talks  For  Women  and  Nursery 

AHlfico?  By  Henry  McMurtrie,  M.  D.  Is  the  most  serviceable 
MllViOlil.  book  for  the  home  published.  The  relation  of  man  to 
woman,  society,  love,  marriage,  parentage,  rules  for  preserving 
health  of  married  women;  directions  to  pregnant  women;  an  ac- 
count of  their  diseases  with  full  instructions  for  the  rearing  of 
children  from  birth,  with  an  account  of  the  diseases  of  infancy, 
are  a few  of  the  leading  facts  treated  in  this  wonderful  book. 
Enlarged  to  300  pages,  fully  illustrated.  Handsomely  bound  in 
Red  silk  cloth  with  gold  design  on  back  and  side. 

Price 75  cts. 


Dr.  Hood  s Plain  Talks  and  Common  Sense 

A fluid  nr  Treats  about  the  Human  System,  the 
mcliibdi  mmUL  Habits  of  Men  and  Women.  Our  Sex- 
ual Relations  and  Social  Natures;  embracing  Confidential  Med- 
ical Talks  applied  to  Causes.  Prevention  and  Cure  of  Chronic 
Diseases,  the  Natural  Relations  of  Men  and  Women  to  Each 
Other,  Society,  Love,  Marriage,  Parentage,  Diseases  of  Children, 
Nursing  and  Care  of  the  Sick,  Domestic  Surgery,  Materia  Medica, 
Hygiene,  Skin  Diseases,  etc.,  etc.  Works  on  branches  of  science 
other  than  medicine  flow  from  printing  presses  in  an  increasing 
stream.  Books  on  subjects  such  as  Biology,  Chemistry,  Astron- 
omy and  Political  Economy  are  widely  read  and  freely  discussed. 
Why  should  medicine  alone  be  monopolized  by  its  professors  and 
denied  the  public  ? What  an  incalculable  amount  of  suffering 
might  be  prevented,  and  how  many  lives  might  be  lengthened,  did 
a more  general  acqnaintance  with  the  nature  of  diseases  and 
mode  of  preventing  them  exist.  This  valuable  work  divulges  all 
the  secrets  known  to  medical  science. 

The  book  is  printed  from  large,  clear  type  on  a superior  quality 
of  wove  paper,  1,200  pages.  Large,  8vo.,  cloth.  Size,  8x10,  with 
special  cover  designs  in  colored  inks,  marbled  edges. 

Price $5.00 


A Compendium  of  Domestic  Medicine  Adviser.  By 

Henry  McMutrie,  M.  D.  A great  family  medical  adviser  and  com- 
panion of  pocket  size,  with  illustrations  of  all  essential  parts  of 
the  human  body  with  treatise  on  all  ordinary  diseases.  The  book 
is  fully  illustrated  and  contains  256  large  bright  pages.  Hand- 
somely bound,  silk  cloth  with  gold  design  on  back  and  side. 

Price 75  cts. 


The  Henneberry  Company  Make  Good  Books. 

Send  for  their  complete  catalogue. 


16 


